I'm shooting on the F3 Camera and using the CF cards on the external recorder. I was wondering if I would need to shoot bars for the editor or not or as its not video ?
Can any one help me?
Even though we're many years now into the transition from analog to digital video, your question still comes up frequently.
In the old days (analog) the bars and tone were recorded so as to have a standard audio and video level for proper lineup when copying or digitizing. On the receiving side there was level controls to assure an accurate audio and video level.
This is not necessary with digital signals as the levels are imbedded to "nominal" or standard already. There are no level adjustments downstream and the "file" is copied exactly as it was recorded. any further adjustments of audio or video levels are done in color correction and sound sweetening.
Another reason with tape for recording bars was to advance into the roll past any dirt that might be at the head; and again in the digital realm this is not necessary.
So save yourself and everyone else a lot of thirty seconds worth of time by forsaking bars and tone.
I agree. However, I recently did a multiple day shoot, testimonials, in a couple of convenience store locations. We had to move fast and keep a very small footprint so as not to affect customers. We shot 39 testimonials in 2 days. The stores had a couple different fluorescent and large windows so daylight constantly affected us. I back lit with an HMI and front lit with a Chimera daylight occasionally adding negative fill. That's all. Even though we constantly white balanced I held a Macbeth color chart, (hold over from my film days), in frame before every testimonial to make color matching easier in post.
It's been my experience, based on lots and lots of telecine transfers, that the most useful tool for the colorist is a gray card properly exposed and in the "neutral" light of the shot. The color chart is for most colorists of little use. Example: you want a warm, setting sun feel. The gray card is exposed in the neutral light of the shot, 5600K if daylight, 3200K if tungsten, keeping away from the card any "sunset." That way, when the colorists adjusts color so that the gray card is truly neutral middle gray, the sunset look will be quite visible in the shot. Obviously, adjusting to the gray card is just a starting point, but it gets the timing off to a quick and good start.
While my experiences were mostly with film-to-tape, color-timing video to video poses very similar opportunities.
Good points Rick. I neglected to say we also had a gray card. The color card was a nice confirmation of the neutral balance and helped flag any over saturation issues...lots of wild colors and lights in the store in the background.